DOCSLIB.ORG

Promo Flyer.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Promo Flyer.Pdf ANTONIO MARIA BONONCINI (1677-1726) ANTONIO VIVALDI (1678-1741) Sonata a Violoncello Solo in G major* Sonata for Violoncello and Basso continuo, 1 Largo 2:04 RV 44 in a minor 2 Allegro 1:45 19 Largo 2:58 3 Adagio 1:26 20 Allegro poco 2:37 4 Sarabanda 1:47 21 Largo 3:08 22 Allegro 2:24 Sinfonia per camera in c minor* 5 Cantabile 4:13 FRANCESCO PAOLO SUPRIANO (SCIPRIANI) 6 Spiritoso 2:11 (1678-1753) 7 Affetuoso 1:22 Sinfonia di Violoncello a Solo in C major* 23 Amoroso 1:49 ANTONIO CALDARA (1670-1736) 24 Allegro assai 1:26 Sinfonia à Violoncello Solo in D major 25 Larghetto 1:26 8 Adagio 2:41 26 Presto 1:12 9 Allegro 2:21 10 Grave 1:41 FRANCESCO ALBOREA (FRANCISCELLO) 11 Presto 1:21 (1691-1739) Sonata a Violoncello e Basso in D major* Sonata for Violoncello and Basso continuo, 27 Amoroso 2:33 no. 4 in d minor 28 Allegro 2:17 12 Allegro 2:24 29 Menuet 2:08 13 Largo 4:12 14 Allegro assai 3:36 Sonata a Violoncello e Basso in G major* 30 Adagio 1:52 NICOLA PORPORA (1686-1768) 31 Allegro 4:01 Sonata for Violoncello and Basso continuo 32 Adagio 1:00 in F major 33 Menuetto 2:10 15 Larghetto 1:24 16 Allegro 1:56 17 Adagio 1:48 * World première recordings 18 Allegro non presto 2:33 Total time 74:27 MICHAL STAHEL Baroque violoncello We thank the Esterházy Privatstiftung in Eisenstadt, Austria, Antony Posch, Vienna 1728 (Esterházy Privatstiftung), for the loan of its violoncello, their support and for the use of restored in the luthier studio of Gerlinde Reutterer in the space at the Esterházy Palace in Eisenstadt for recording Vienna 2007-2009 purposes. MARTIN GEDEON Positive organ (Esterháza Centre of Culture, Research and Festival) JAN ČIŽMÁŘ Theorbo, Baroque Lute, Baroque guitar SOMA DINYÉS Harpsichord Sound: © Rostislav Pavlík, 2014 We thank the Esterháza Centre of Culture, Research and Text: © Michal Stahel, 2014 Festival in Fertöd, Hungary, for the loan of their positive English translation: © Christopher Roth, 2014 organ. Photos: © Kata Sedlak, 2014 Design, retouch: © Monika Boďová, 2014 Recorded from 4 to 8 August 2014 in the chapel of the Esterházy Palace in Eisenstadt, Austria. To download the complete booklet in English, German and Slovak please visit www.pavlikrecords.sk/shop/michal- stahel-baroque-cello-sonatas-cd-audio 9 10 Vienna 1728 the Habsburgs hired well-known composers and musicians from all over Europe, musical life at the imperial court came to equal that of other centers such as Paris and London as The Habsburgs, as rulers of large swaths of Europe early as the reign of Maximilian I. But with the coronation of stretching from today’s Portugal and Spain to Flanders, parts Ferdinand II in 1619, Italian musicians—and the baroque of Germany, Bohemia, Austria, Slovakia, Hungary, and on to style they brought with them—came quite clearly to the fore. Croatia and regions of Italy including Sicily and Sardinia, Ferdinand’s marriage to Eleonora Gonzaga, whose family viewed themselves as the bearers and patrons, and in fact as had been important patrons and supporters of Claudio the epicenter, of European art and culture. They employed Monteverdi, provided a firm foundation for the relationship music as a tool with which to represent the imperial court’s between Vienna and Italian music. In terms of musical life at power and glory. While the French court, traditionally the Viennese court during the first half of the 18th century, viewed as a rival, concentrated more on architecture, the one must above all mention the Graz-native Johann Joseph Habsburgs supported music consistently and early on. Fux (1660–1741), who arrived in Vienna at the end of the 17th Ferdinand I and Ferdinand II were the rulers who ultimately century and was quickly appointed Hoff-Compositeur [court settled on Vienna as their imperial capital and residence. composer] and, in 1715, Hofkapellmeister. Further And as the nobility gravitated towards the court, the imperial important composers employed during the 18th century’s administrative apparatus grew—as did the need for theaters first half by the imperial court music establishment (the and for the performance of concerts and operas. This went Hofkapelle) included Attilio Ariosti, Carlo Agostino Badia, hand-in-hand with Vienna’s dynamic economic and cultural Giuseppe Bonno, Giovanni Bononcini, Antonio Caldara, development, and the city was to act as a magnet for artists Francesco Bartolomeo Conti, Giuseppe Porsile, Luca and intellectuals from all over Europe until well into the 18th Antonio Predieri, and Marc’Antonio Ziani, who was Fux’s century. Several Habsburg Holy Roman Emperors were direct predecessor as Hofkapellmeister. themselves passionate composers and musical performers: Ferdinand III., emperor from 1637 to 1657, was himself a Under Joseph I, Holy Roman Emperor from 1705 to 1711, as composer, but little of his output has been preserved. His under his predecessors, there existed a veritable cultural successor, Leopold I, had an opera house built—of wood— „arms race“ between Vienna and Paris. And the reign of and composed both arias and entire operas. And Maria Charles VI, his successor, saw the imperial Hofkapelle grow Theresia appeared at court as a singer, while Joseph II was to number 300 musicians, its greatest size ever—with an active chamber musician and an enthusiastic opera lover. music’s role as a vehicle of power growing commensurately. It was under Charles’s rule and the conditions associated Music stood at the center of imperial representation, the therewith that the cello used on the present recording first general understanding of culture, and courtly life. And since saw the light of day. In response to an order by the princely 9 10 Esterházy family, Antony Posch (1677–1742), the Hoff- manifold musical life, of which they adopted numerous Lautenmacher [court luthier], built this instrument at his elements. Having begun with sacred music, the Esterházys’ Vienna workshop in 1728 for use at the Esterházys’ court in patronage expanded during the second half of the 18th Eisenstadt. Together with Johann Georg Thir (ca. 1710– century to include instrumental music and opera, and their 1781), Johann Joseph Stadlmann (1720–1781), and their appointment of Joseph Haydn as vice-Kapellmeister in 1761 workshops, Posch was part of that world-famous generation eventually garnered them worldwide fame as cultural of string instrument makers who had migrated from Bavaria patrons. Prior to the presence of Joseph Franz Weigl (1740– to Vienna and proceeded to produce instruments of 1820) and Antonín Kraft (1752–1820), the two first cellists of superlative quality. And this cello and other examples owned the Esterházy orchestra under the leadership of Joseph by the Esterházy Foundation serve us as indications that Haydn (who wrote his two cello concertos for them), and such instruments were not played exclusively by the before Franz Liszt’s father Adam List (1776–1827), who was musicians of the Viennese court. Even just the fact that the employed there as second cellist under Kapellmeister Esterházys had their instruments produced in Vienna Johann Nepomuk Hummel, I am not aware of any chamber implies that they were dependent upon the nearby city and music repertoire that would suggest the presence of a strong profited greatly from its rich artistic and cultural offerings. cello-playing personality at the Esterházy court during the first half of the 18th century. This previously protestant Esterházys’ conversion to Catholicism and their unconditional loyalty to the rulers of The development of the cello from a bass instrument to be the Holy Roman Empire, who were simultaneously Kings of played as part of basso continuo group into a solo Hungary, laid the cornerstone for the family’s meteoric instrument began around the end of the 17th century within ascent. Its members proved their loyalty to the imperial the circles of two cellists employed at Bologna’s San house particularly in armed conflicts, from the Petronio Basilica: Domenico Gabrielli (1651–1690) and his confrontations with the Ottoman Turks to the 30 Years’ student Giuseppe Maria Jacchini (1667–1727). The invention War (1618–1648) and the Napoleonic Wars (1792–1815). of metal-wound gut bass strings around this time made it Prince Paul II. Anton Esterházy de Galantha (1711–1762), possible for the cello to be played as the equal of other solo who was just 17 years old when this cello was built, studied in instruments such as the viola da gamba and the violin. The Vienna and exhibited a strong interest in culture. And in perfection of these two cellists’ advanced playing keeping with Esterházy tradition, he lent his support to techniques, resulting in the ability to play more exposed solo Habsburg ruler Maria Theresia in the War of the Austrian parts, was to take place a bit later on in Naples. The Succession beginning in 1741. Because of the family’s loyalty protagonists of the strong generation of cellists to emerge to and close relationship with the Viennese court, it stands from that city during the early 18th century included to reason that they were quite familiar with Vienna’s Francesco Alborea, Francesco Supriano, Giovanni Perroni, 11 12 and Salvatore Lanzetti, of whom the first three—along with Antonio Maria Bononcini—continued to develop their cello- playing careers as musicians of the Viennese court. Their proficiency as players must have far exceeded that of the Austrian cellists employed there, for above all after 1727—the year when the exceptional Italian cellists Giovanni Perroni and Francesco Alborea were hired—the cello came to feature as an obbligato instrument in numerous highly virtuosic passages.
Load more

Recommended publications
  • Im Dienste Einer Staatsidee
    Wiener Musikwissenschaftliche Beiträge Band 24 Herausgegeben von Gernot Gruber und Theophil Antonicek Forschungsschwerpunkt Musik – Identität – Raum Band 1 Elisabeth Fritz-Hilscher (Hg.) IM DIENSTE EINER STAATSIDEE Künste und Künstler am Wiener Hof um 1740 2013 Böhlau Verlag Wien Köln Weimar Gedruckt mit der Unterstützung durch den Fonds zur Förderung der wissenschaftlichen Forschung Bibliografische Information der Deutschen Nationalbibliothek : Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie ; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung : Mittelmedaillon des Deckenfreskos im Festsaal der Österreichischen Akademie der Wissenschaften (ehemals Alte Universität) von Gregorio Guglielmi nach einem Programmentwurf von Pietro Metastasio (Rekonstruktion nach dem Brand von 1961 durch Paul Reckendorfer) © ÖAW © 2013 by Böhlau Verlag Ges.m.b.H., Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Satz : Michael Rauscher, Wien Druck und Bindung : General Nyomda kft., H-6728 Szeged Gedruckt auf chlor- und säurefreiem Papier Printed in Hungary ISBN 978-3-205-78927-7 Inhalt Vorwort .................................... 7 Grete Klingenstein : Bemerkungen zur politischen Situation um 1740 ..... 11 Literatur Alfred Noe : Die italienischen Hofdichter. Das Ende einer Ära ......... 19 Wynfrid Kriegleder : Die deutschsprachige Literatur in Wien um 1740 .... 47 Kunst Werner Telesko : Herrscherrepräsentation um 1740 als „Wendepunkt“ ? Fragen zur Ikonographie von Kaiser Franz I. Stephan ............. 67 Anna Mader-Kratky : Modifizieren oder „nach alter Gewohnheit“ ? Die Auswirkungen des Regierungsantritts von Maria Theresia auf Zeremoniell und Raumfolge in der Wiener Hofburg .................... 85 Theater Andrea Sommer-Mathis : Höfisches Theater zwischen 1735 und 1745.
    [Show full text]
  • Stowell Make-Up
    The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c.
    [Show full text]
  • Spanish Piano Concertos Narro I Martinez I Palomino
    HC20016.Booklet.SpanishPiano.qxp_PH?????_Booklet_Gamben/Handel 01.12.20 09:08 Seite 1 – World Premiere Recordings – SPANISH PIANO CONCERTOS NARRO I MARTINEZ I PALOMINO ORQUESTA FILARMONÍA IBÉRICA MELANI MESTRE piano & conductor Bonus: Palomino – Violin Concerto NATALIA BORYSIUK violin HC20016.Booklet.SpanishPiano. Seite 2 HC20016.Booklet.SpanishPiano. Seite 3 SPANISH PIANO CONCERTOS NARRO I MARTINEZ I PALOMINO ENGLISH SPANISH PIANO CONCERTOS disc having been recorded for the first tion of orchestral music of the period archive of the Vienna Musikverein; and “Unknown” would be the best adjective time. to ecclesiastical and study purposes finally the concertos of José Palomino, at the present time to define the musical until well into the 19th century; thirdly, in the Biblioteca Nacional de Portugal landscape embracing the concertos for Given the vast quantity of sonatas and the possibility of having lost a large in Lisbon. piano (harpsichord) and orchestra from other works written for the keyboard, quantity of manuscripts and musico- Spain throughout almost the whole whether for harpsichord, clavichord, logical sources that might inform us and As is the case with the majority of 18th- of the 18th century and the beginning virginal, organ or any other keyboard at least cast light on the musical and and early-19th-century concertos for key- of the 19th, as Spanish Classicism was instrument of the period, it is hard to instrumental state of the art at the period board instruments that are known to us, emerging. believe that all this host of
    [Show full text]
  • Amadeus Insert.Indd
    HISTORICAL BACKGROUND TECHNICAL CREW WOLFGANG AMADEUS MOZART was born on Janu- AGE OF REASON, covered about a century and a half Stage Manager................................................... Jessica McRandall THEATRE SHERIDAN PRESENTS ary 27, 1756, in Salzburg, to Leopold and Anna in Europe. It was considered to have begun with Maria Mozart. The last of seven children, only he the close of the Thirty Years’ War (1648) and ended Assistant Stage Manager .................................... Sydney Collet and his sister Marianne (“nannerl”) were to sur- with the French Revolution (1789). Audio Crew ........................................................ Eric Wellman vive past infancy. Young Mozart started playing the The Enlightenment advocated reason as a means piano at the age of three. He began to study music to establishing an authoritative system that would Carpentry Crew .................................................. Ian Barber, Nicholas Cholack, Joshua at four and by six was an accomplished performer allow human beings to obtain objective truth about Chudziak, Matthew Cochrane, Cedric Daros, on the harpsichord, organ and violin. He and his sis- the whole of reality. Enlightenment thinkers argued Jonathan Grosz, Nicholas Matthews, Erikka AmadeuS BY PETER SHAFFER ter went on a series of tours with their father. From that reason could free humankind from superstition Rombough, Eric Ruberto the age of six, Mozart performed across Europe. and religious authoritarianism that had brought Mozart wrote his first opera, Matridate, King
    [Show full text]
  • Luca Antonio Predieri
    Masarykova univerzita Filozofická fakulta Ústav hudební vědy Hudební věda Iva Bittová Luca Antonio Predieri: Missa in C Sacratissimi Corporis Christi Magisterská diplomová práce Vedoucí práce: doc. PhDr. Jana Perutková, Ph.D. 2017 Prohlašuji, že jsem práci vypracovala samostatně a pouze s využitím uvedených pramenů a literatury. ...................................... OBSAH PŘEDMLUVA ....................................................................................................................................................... 4 ÚVOD ..................................................................................................................................................................... 5 1 STAV BÁDÁNÍ .............................................................................................................................................. 6 2 LUCA ANTONIO PREDIERI .................................................................................................................... 12 2.1 ŽIVOTOPIS .............................................................................................................................................. 12 2.2 PŘEHLED DÍLA ........................................................................................................................................ 16 3 EDICE PRAMENE MISSA IN C SACRATISSIMI CORPORIS CHRISTI ......................................... 19 3.1 POPIS PRAMENE .....................................................................................................................................
    [Show full text]
  • Il Re Pastore
    IL RE PASTORE CLASSICAL OPERA IAN PAGE (CONDUCTOR) WOLFGANG AMADEUS MOZART (1756-1791) IL RE PASTORE, K.208 Libretto by Pietro Metastasio (1698-1782) Performance material: New Mozart Edition (NMA) ALESSANDRO JOHN MARK AINSLEY tenor By kind permission of Bärenreiter-Verlag Kassel · Basel · London · New York · Praha Alexander the Great, King of Macedonia Recorded at St John’s Smith Square, London, UK from 17 to 25 July 2014 AMINTA SARAH FOX soprano Produced and engineered by Andrew Mellor A shepherd, in love with Elisa Assistant engineers: Claire Hay, Brett Cox Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com ELISA AILISH TYNAN soprano Cover image by Debbie Coates Photographs by Ruth Crafer unless otherwise stated A noble Phoenician girl, in love with Aminta Italian language coach: Rosalba Lo Duca Harpsichord technician: Malcolm Greenhalgh TAMIRI ANNA DEVIN soprano Daughter of the tyrant Strato, in love with Agenore Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for sponsoring this recording. AGENORE BENJAMIN HULETT tenor We are also grateful to the following people for their generous support: Kate Bingham and Jesse A nobleman of Sidon, in love with Tamiri Norman, Sir Vernon and Lady Ellis, Kevin Lavery, Robin and Amanda Osmond, Hamish and Carol Ritchie, Pierce and Beaujolais Rood, and all the other individuals who supported this project. THE ORCHESTRA OF CLASSICAL OPERA Special thanks to: Kate Aldridge, Pawel Siwczak, Stephen Page and TallWall Media. Leader: Matthew Truscott Continuo: Steven Devine (harpsichord), Joseph Crouch (cello), Cecelia Bruggemeyer (double bass) IAN PAGE conductor 2 MOZART / IL RE PASTORE MOZART / IL RE PASTORE 3 IL RE PASTORE, K.208 Scena V Page 11 Recitativo: “No, voi non siete, o Dei” (Tamiri) 0’34 36 CD 1 ACT ONE (62’38) 12 No.
    [Show full text]
  • Nicola Fiorenza
    NEL GIARDINO DI PARTENOPE sonate napoletane per violoncello TRACKLIST P. 2 ENGLISH P. 4 a Wanda e Gianni FRANÇAIS P. 9 ITALIANO P. 15 A 385 CONCERTI NAPOLETANI PER VIOLONCELLO TRACKLIST P. 22 ENGLISH P. 24 FRANÇAIS P. 30 ITALIANO P. 36 NEL GIARDINO DI PARTENOPE 2 Menu SONATE NAPOLETANE PER VIOLONCELLO Rocco Greco (ca. 1650 – dopo il 1718) Giovanni Battista Pergolesi (1710-36) Sinfonia terza à due viole in Sol maggiore 1 Sinfonia à violongello solo in Fa maggiore 4 1 Grave 1’17 19 Comodo 1’14 2 Allegro 2’19 20 Allegro 1’47 3 Corrente 1’22 21 Adagio 2’10 22 Presto 1’45 Giulio de Ruvo (fl. 1703-1716) Sonata à violoncello solo in Sol minore 2 Salvatore Lanzetti (ca.1710 – ca.1780) 4 [Allemanda] 2’43 Pièces pour le violoncelle 5 5 [Giga] 1’16 23 Grave 4’05 6 [Minuetto] 1’21 24 Allegro 3’50 25 Affettuoso 2’14 7 Tarantella – Romanella – Tarantella 2 4’25 Nicola Porpora (1686-1768) Francesco Alborea detto Francischiello (1691-1739) Sonata à violoncello solo 6 3 Sonata a violoncello e basso in Sol maggiore 26 Adagio 1’16 8 Adagio 2’23 27 Allegro 1’29 9 Allegro 2’46 28 Adagio 1’19 10 Adagio 0’30 29 Allegro non presto 1’52 11 Menuetto 2’12 Pasquale Pericoli (seconda metà del XVIII secolo) Francesco Alborea detto Francischiello Sonata Quarta in Fa minore 7 Sonata a violoncello e basso in Re maggiore 3 30 Allegretto 3’11 12 Amoroso 2’30 31 Siciliana 3’02 13 Allegro 2’16 32 Allegro 1’56 14 Menuet 1’39 Salvatore Lanzetti Francesco Supriani (1678-1753) Sonata op.
    [Show full text]
  • Mozart Biography
    Mozart Cliff Eisen According to a possibly apocryphal story, when the conductor Otto Klemperer was asked to list his favourite composers, Mozart was not among them. On being taxed with his, Klemperer is said to have replied, 'Oh, I thought you meant the others'. This anecdote illustrates how Mozart is often regarded, almost as a matter of course: as a pre-eminent (some would say 'the' pre-eminent) composer of operas, concertos, symphonies and chamber music.[1] His life and works can conveniently be divided into three distinct periods: 1756- 1773 when, as a child prodigy, he toured much of Western Europe and composed his first works; 1773-1780, when he was largely based in Salzburg in the employ of the Salzburg court (with a significant interruption from September 1777 to January 1779, when he quit service in search of a position at either Mannheim or Paris); and 1781-1791, when he was permanently resident in Vienna and during which time he composed the works for which he is best remembered. Most Mozart biographers see in this three-fold division a pattern that, even if its dates do not exactly correspond with the traditional, Rousseauian model of a creative life - apprenticeship (which for Mozart is said to extend from 1763 to the late 1770s), maturity (the late 1770s to about 1788), and decline (about 1788-1791) - is nevertheless more or less consistent with how other composers' lives, including Palestrina, Beethoven and Rossini, are usually represented. The one significant difference, perhaps, is that Mozart's alleged decline is 'redeemed' by the composition, in his final year, of two transcendent works: the sacred Requiem and the secular The Magic Flute.
    [Show full text]
  • Marianna Martines= Martínez (1744- 1812) Pupil of Haydn and Friend Of
    Marianna Martines= Martínez (1744- 18 12) Pupil of Haydn and Friend of Mozart C LASSICAL YIENNA BOASTED such women com­ Vienna, Domenico Passionci (1682-1761 ), appointed him posers as master of ceremonies [Maestro di Camera], a position thal he held under five successive nuncios, thc last being Marianna von Auenbrugger, dcdicatec of Haydn's Sei Vitaliano Borromco (1720-1797) (who left Vienna in 1766 Sonate per il Clavicembalo, o For1e Piano Opera XXX upon being named a cardinal). In about 1762 Empress (published by Arlaría in 1780); Maria Theresia made her father Knight of 1he Realm. Mozart's pupil and co-performer Josefa Barbara von Al age seven (175 1) she began studying music wi1h Aur(e)nhammcr (b Vienna September 25, 1758; d there Joseph Haydn, "presently Maestro di Cappella of Prince January 30, 1820), with whom he played the premiere of [Nikolaus Ij Esterházy, and a much es1eemed individual his Sonata for two keyboards KV 448: 375a (November in Vienna, especially as regards instrumental music." 1781); [Haydn told his biographer Griesinger tha1he1aught her singing and keyboard playing three years-receiving for the blind keyboardist Maria Theresia Paradis (b Vienna his instruc1ion free board in the Martines household, May 15, 1759; d lhere February 1, 1824) for whom which was on a lower íloor of the Michaelerhaus where Haydn wrote his Second Concerto pour le clavecin oü le he himself inhabited a garret.) Aftcr Haydn, she studied forre-piano ... exéculé ou Concer1 Spiriluel par Made­ counterpoint with Giuseppe Bonno [1710-1788), member moisel/e Paradis (announced April 26128, 1784) and of the Imperial Court Chapel (who, after his decade of Mozart composed his Concerto KV 456 (dated Septem­ siudy in ltaly wilh Durante and Leo, 1726-1736, was in ber 30, 1784); 1739 named Hoflcompositeur; Mozart in a lener dated and Magdalena von Kurzbock to whom Haydn's Grande April 11, 1781, referred to Bonno as "der alte ehrliche Sana/e pour le Piano-Forte ..
    [Show full text]
  • Portrait of a Woman Composer Sitting at the Harpsichord, Holding a Music Roll in Her Hand, Around 1780
    G010003221164U Portrait of a woman composer sitting at the harpsichord, holding a music roll in her hand, around 1780. Private collection. Porträt einer Komponistin am Cembalo sitzend mit einer Musikrolle in der Hand, um 1780. Privatsammlung. Cantata „Il nido degli amori“ (1783) * MARIANNA MARTINES La for mezzo-soprano, wind instruments, strings & b.c. (1744–1812) 14 Aria: Se ti basta ch’io t’ammiri 4.15 15 Recitativo: S’io non accetto il loco 4.06 Scena „Orgoglioso fiumicello“ (1786) * Tempesta 16 Aria: Sarà più dolce assai 3.17 for mezzo-soprano, wind instruments, strings & b.c. * World première recordings 1 Aria: Orgoglioso fiumicello 4.41 2 Recitativo: Ma tu cresci frattanto 2.28 ANNA BONITATIBUS mezzo-soprano 3 Aria: Ma tornerai fra poco 4.00 LA FLORIDIANA Concerto per Cembalo in G major (1772) * Stefano Barneschi, concert master · Nicholas A. Robinson, violin · Gianni de Rosa, viola for harpsichord solo, wind instruments & strings Marco Testori, violoncello · Marco Lo Cicero, violone 4 Allegro 6.34 Liane Ehlich & Renate Sudhaus, flutes · Thomas Meraner & Philipp Wagner, oboes 5 Adagio 6.19 Silvia Centomo & Daniel Lienhard, horns · Anna Flumiani, bassoon 6 Allegro 5.33 NICOLETA PARASCHIVESCU Cantata „La Tempesta“ (1778) harpsichord & musical direction for mezzo-soprano, wind instruments, strings & b.c. 7 Recitativo: No, non turbarti, o Nice! 1.51 P & g 2015 Sony Music Entertainment Germany GmbH Recorded: February 12–14, 2014, Reformierte Kirche Arlesheim (CH) 8 Ma tu tremi, o mio tesoro 3.40 Aria: Recording producer & editing: Andreas
    [Show full text]
  • Amadeus in Cowan Hall
    A manthly feature profiling a selected community organization that is dedicated to the cultural and/or educational enrichment of the WOSU service area. Pirates of Penzance to this year’s trio of The Arts love stories—Pergolesi’s La Sen/a padrona, Menotti’s The Telephone, and the first scene from Verdi’s La Traviata. at Otterbein Six annual art exhibits in the Dunlap Gallery of the Battelle Fine Arts Center, all open throughout the academic year Otterbein College in Westerville teems free of charge, regularly display the year round with arts events and works of talented regional, national, and programs that enrich the lives of its International artists; visual arts faculty; students and the surrounding students; and alumni. This year’s community. exhibitions included a collection of black The college’s Center for the Arts and white panoramic photographs; a enlivens cultural growth by Incorporating combined display of drawings, a full spectrum of theatre and music paintings, and mobile sculptures; a events, providing dance programs, traveling exhibition of oversize prints; a sponsoring a variety of art exhibitions, quilt show; a ceramics exhibition; and and presenting an annual Artist Series. the best works of graduating seniors. Members of the central Ohio community In existence for more than 30 years, are always welcome to attend the the Otterbein Artist Series offers an college-sponsored events, which are Impressive lineup of talented profes­ either free of charge or available at a sionals including Marcel Marceau, the nominal admission price. Canadian Brass, Peter Nero, the Vienna Staging at least 10 shows yearly, the Boys Choir, Jazz-Tap Ensemble, and widely acclaimed Otterbein College The Acting Company (a touring arm of Theatre and Otterbein Summer Theatre the John F.
    [Show full text]
  • Haydn, CPE Bach, and the Evolving Keyboard Idioms of the Later
    Haydn, C. P. E. Bach, and the Evolving Keyboard Idioms of the Later Eighteenth Century David Schulenberg The choice of the “best” or “preferred” keyboard instrument in the music of Joseph Haydn and Carl Philipp Emanuel Bach has been a favorite topic for students of both composers. So too has been the closely related issue of the gradual evolution of the keyboard idiom in their compositions, which in turn is connected to the question of how Emanuel Bach might have influenced his younger contemporary. Yet no consensus has ever been reached on these matters, perhaps because the questions asked have not been exactly the right ones. The present investigation attempts to reframe the issue by first considering the concept of “keyboard idiom,” then examining specific compositions especially by Haydn, and concluding with a re-consideration of the musical relationship between the two composers.1 Instrument and idiom Eighteenth-century Europe knew many types of keyboard instruments: not only organs, harpsichords, clavichords, and pianos, but also rarer and more exotic varieties.2 None of these had a standardized form; when today we use an expression like clavichord or fortepiano, we refer only to an abstraction defined by a certain general type of keyboard mechanism. The possibility of controlling dynamics through the player’s touch was certainly an important distinguishing feature of the newer types of keyboard instrument. But as important as touch sensitivity is the overall range of dynamics, from softest to loudest. Equally important is sustaining power, from which derives the possibility of playing a legato melody in long notes.
    [Show full text]